Eat Salad, Taylor Mcguirt

The Anthology

Art Editor's Choice

Black Jesus, Samuel Carter

The Anthology

No abstract provided.

Serendipity In Blue, Katie N. Karban

The Anthology

No abstract provided.

Enter The Universe, Matthew Blong

Curating Contemporary Art: Documents & Writings

Sotheby’s Institute of Art is pleased to present Enter the Universe, a monographic exhibition of recent work by New York City-based visual artist and poet Maria Dimanshtein, curated by Matthew Blong, candidate, Master of Arts in Contemporary Art, class of 2019.

Between The Bars, Unique Shaw-Smith Dr, Eliese Maxwell, Victoria Otero, Catherine Trujillo, Habib Placencia Adissi

Creative Works

“Between the Bars” is a senior project exhibition, in collaboration with Cal Poly Sociology Professor Dr. Unique Shaw-Smith. Featuring artwork produced by incarcerated artists, the goal is to undo negative stereotypes and to empower the rehabilitation of incarcerated artists individually and collectively through art.The exhibit demonstrates that rehabilitation does occur in prison and emphasizes that art has the power to transcend all social differences and divisions. The exhibit features more than 60 works in diverse mediums including sculpture, painting, and poetry by 34 incarcerated artists from California Men’s Colony.

This catalog represents the onsite exhibit of the same name, which …

Art Club, Elizabeth Griggs

Honors Program: Expanded Learning Clubs

The goal of this art club is to introduce students to various painting techniques. This club is designed for those students who enjoy being creative and learning various painting techniques.

Tourism And Tensions: Shifting Dynamics Of Tourism In Ubud And The Effects On Balinese Painting, Celia Feal-Staub

Independent Study Project (ISP) Collection

No abstract provided.

Sub Lege To Sub Gratia: An Iconographic Study Of Van Eyck’S Annunciation, Christopher J. Condon

Student Publications

When the Archangel Gabriel descended from heaven to inform the Virgin Mary of her status as God’s chosen vehicle for the birth of Jesus Christ, she was immediately filled with a sense of apprehension. Gabriel’s words, “...invenisti enim gratiam apud Deum [you have found favor with God],” reassured the Virgin that she would face no harm, and the scene of the Annunciation (what this moment has come to be called) has forever been immortalized in Christian belief as a watershed moment in the New Testament. While many Byzantine icons of the Medieval period sought to depict this snapshot in time …

To Save A Soul? Analyzing Hieronymus Bosch’S Death And The Miser, Ryan Bilger

Student Publications

The Dutch painter Hieronymus Bosch remains to this day one of the most famous artists of the Northern Renaissance. His unique style and fantastical images have made him an icon beyond his years. Bosch’s painting Death and the Miser, now in the National Gallery of Art in Washington, D.C., stands out as one of his most thematically complex paintings, packed with pertinent details and allusions to other works of his and those created by other artists. His inclusion of various demonic creatures, the figure of Death, and an angel and crucifix create a tense atmosphere surrounding the passing of the …

Cold Wax Demystified Workshop With Miles Conrad, Cat Crotchett

Academic Leadership Academy

I applied for and received an Instructional Development Travel Grant to assist me in attending both the 12TH International Encaustic Conference in Provincetown, MA and a 2-day post conference workshop “Cold Wax Demystified with Miles Conrad” at Truro Center for the Arts in Truro, MA.

Both of these events provided me with a unique opportunity to participate in advanced intensive instructional encaustic and cold wax topics that will enhance my teaching within the Painting Area of the Frostic School of Art.

My purpose in taking the workshop on cold wax was to enable me to teach students how to use …

Modern Arts And Pueblo Traditions In Santa Fe, 1909–1931, Elizabeth S. Hawley

Dissertations, Theses, and Capstone Projects

This dissertation examines art produced in and around Santa Fe, New Mexico during the early twentieth century, putting the works of Pueblo artists who lived in the area into dialogue with the works of Anglo-American modernists who traveled there. I take as case studies three artists whose practices are linked by both circumstance and agenda: Maria Martinez, a famed Pueblo potter; John Sloan, a leading member of The Eight and the Ashcan School; and Tonita Peña, a Pueblo watercolor painter. Weaving together Anglo-American and American Indian art history – which are too often bifurcated into separate accounts, omitting rich histories …

Illusions Of "Blackness" In Contemporary Visual Culture, Michaël Dorn

MFA in Visual Arts Theses

My thesis begins with a primer of the historical concept of “black(ness)” and the roots of its racialization. Intertwined throughout my discussion in Section I, I will highlight a few of my research findings and discuss some of the installation images that I created as I studied the work of contemporary artists who use lexical and literal figurative “blackness” in their work—in particular, the oeuvre of Kerry James Marshall as featured in his retrospective exhibition Mastry. My discourse unfolds with a brief etymological review of both the English word “black” and its precedent conceptual forms in Section II. Section …

Braque And Picasso In The Dark Years: A Comparative Consideration Of The Still-Life Paintings Completed During The Occupation Of Paris, 1940-1944, Shelley Demaria

Theses and Dissertations

This thesis examines the work and actions of Georges Braque and Pablo Picasso throughout the Occupation of Paris during World War II, and in doing so, aims to demonstrate that the two artists were more closely aligned in wartime comportment and artistic production than the current scholarship might indicate.

Overcoming Barriers By Doing Things Differently, Jennifer Fortuna

The Open Journal of Occupational Therapy

Tom Yendell, an artist based in Hampshire, England, provided the cover art for the Summer 2018 issue of The Open Journal of Occupational Therapy (OJOT). “Silk Flowers” is a mouth painting made from acrylic on silk. Born a bilateral congenital amputee, Tom has learned to use his toes the same ways others use their hands. Tom relies little on aids and adaptations in his everyday life. He believes learning to do things your own way is empowering. As a world-renowned mouth and foot painter, Tom is a living example of how barriers can be overcome by doing things differently. Through …

Mitsu Salmon Interview, David Yonamine

Asian American Art Oral History Project

Artist Bio:
Mitsu Salmon creates original performance and visual works, which fuse multiple disciplines. She was born in the melting pot of Los Angeles to a Japanese mother and American father. Her creation in different mediums, the translation of one medium to another, is connected to the translation of differing cultures and languages.

Salmon received her MFA from the School of the Art Institute of Chicago in 2014. In 2005 she graduated from NYU where she majored in Experimental Theater, studying theater and visual arts. She has lived in India, England, Germany, Amsterdam, Japan, and Bali.

She has performed solo …

Convenient Camouflage, John Alleyne

LSU Master's Theses

ABSTRACT

Major influences in my work are most notably derived from the collages of Romare Bearden, paintings done by abstract expressionists Jackson Pollock and Mark Rothko, and the multidisciplinary practice of Rashid Johnson. This list of artists has been my influence for the past academic year as a result of personal research, some of which was conducted at the Museum of Modern Art, the TATE Modern in London and Musée du Louvre in Paris. My aim in my artwork and in this thesis is to change the perception of Black people, specifically Black men and boys, and to challenge stereotypes …

Soheila Azadi Interview, Jillian Bridgeman

Asian American Art Oral History Project

Artist Bio: Soheila Azadi is an interdisciplinary visual artist and lecturer based in Chicago and Iran. Born in the capital of Islamic cities, Esfahan, Azadi absorbed story-telling skills through Persian miniature drawings since she was nine. Azadi’s inspirations come from her experiences of being a woman while living under Theocracy. Now residing in the U.S. Azadi is dedicated to transnational feminism with a passionate devotion to the ways in which race, religion, gender, sexuality, and ethnicity intersect. Azadi uses performance art and performative installations as methods to both materialize and narrate stories about women’s everyday struggle in the world. Her …

To See Again, Ada Goldfeld

Masters Theses

Contemporary criticism often describes realist paintings as facsimiles of our world, mimetic copies of a shared reality. Cast as a singular approach to painting that, with practice, any artist may adopt, realism is seen as an easy way out, which has been superseded by more complicated, advanced, and abstract visual languages. It is in this context that describing a painting as “realistic” becomes a backhanded compliment— recognition of acquired skill, but a jab to creativity—and all the more of a slight given the value that contemporary art has placed on de-skilling.

These blanket statements around realism misrepresent the tradition, diminishing …

Domestic Disorientation, Marisa Adesman

Masters Theses

At the center of all human life is the idea of ‘home’, and although this notion has persisted across time, the specific ideas and meaning of that word have changed significantly across the millennia. We are now in an unprecedented time of rapid change and social, economic and political upheaval, and from where we stand now, it is important to explore what ‘home’ means to us today, at both the individual and collective level.

The domestic space of the home, and the rooms within, represent a politicized site vis-à-vis gender, and these gender dichotomies are perhaps most prevalent in the …

Sky Well, Molly Kaderka

Masters Theses

Since the era of Romanticism, landscape painting has fallen into three aesthetic forms of representation: the Pastoral, the Picturesque, and the Sublime. This last form celebrates the awe and fear that arises through human encounters with nature. Many contemporary critics dismiss the Natural Sublime, claiming either that technology has replaced nature as a source of the sublime, or that humankind’s present-day destruction of nature prevents our also standing in awe of it. I disagree with both arguments. To me, humanity’s disruption of Earth’s ecosystems does not impede an individual’s experience of exhilaration witnessing, say, a volcanic eruption. And modern technology …